Number Crunching Shows Old Movies Are More Creative Than New Ones

All Rights Reserved. Photo by Hopper Stone Captain Phillips (PG-13) ‘Captain Phillips,’ a taut, finely crafted, superbly acted maritime thriller, is just one of a wave of fabulous films heading our way. Its autumn, my friends, a time of falling leaves and soaring cinematic standards. Hallelujah, and pass the buttered popcorn. Ann Hornaday The Summit (R) Because The Summit jumps around in time and because the events on the mountain happened over two days and at locations often far apart, the already garbled chronology of deaths is made even more confusing. Michael OSullivan When Comedy Went to School (Unrated) At first, the movie sets out to prove that the mountain resort was the seminal location for mid-century Jewish comedians to get their start. But after so many detours into other terrain, the movie feels muddled and unwieldy. Stephanie Merry The Inevitable Defeat of Mister and Pete (R) Wright and Mackie have small parts, playing a homeless veteran and a pimp, respectively. Like all the other grown-up actors, their work is fine and tightly focused. But its Brooks and Dizon that youre not likely to forget. They may be tiny little kids, but they deliver outsize performances. Michael OSullivan Escape from Tomorrow (Unrated) As a social critique, ‘Escape From Tomorrow’ is weak. At times, the filmmaker seems to suggest that Disneys mechanistic manipulation of the imagination after all, its park designers are called imagineers is stifling original thought. Michael OSullivan Machete Kills (R) Bad acting, narrative illogic, inattention to character development and storytelling so choppy that the film seems to have been edited with a, well, machete are what you expect from a movie like this, which originated as a fake trailer incorporated into the 2007 film Grindhouse. Michael OSullivan Romeo and Juliet (PG-13) ‘Wherefore art thou Romeo?’ remains, as do the plays other most famous lines, but screenwriter Julian Fellowes, the creator of ‘Downton Abbey,’ has dumbed down much of the remaining dialogue. Does that mean it will appeal to a broader audience? Its possible cursing ‘zounds’ is so 1597, after all but replacing existing text with old adages about the road to hell being paved with good intentions or striking while the iron is hot comes across as lazy. Stephanie Merry A.C.O.D. (R) The cast is uniformly strong, with standout performances from Lynch, OHara, Jenkins, Poehler and Howard. Jessica Alba also makes a nice, if brief, appearance as a fellow child of divorce with whom Carter almost cheats on Lauren. And Winstead brings surprising depth to a small role, in which she has little to do except wait for her boyfriend to grow up, or to at least let go of his cynicism about love. Michael OSullivan We Are What We Are (R) The films rendering of emotion is sensitive, and the acting uniformly fine, with an unrecognizable cameo by Kelly McGillis as the Parkers nosy, doomed neighbor.

3 Movies That Could Break Avatar’s Box Office Record

Click one of these fan favorites to get started: Apple ; Google ; Ford . 3 Movies That Could Break Avatar’s Box Office Record October 13, 2013 | Comments (0) Avatar opened on Dec. 18, 2009, to a respectable $26.7 million at the box office. That’s impressive, but nowhere near the all-time opening day record. Across its first weekAvatarended up bringing in $137 million in domestic box office, just the 28th largest opening week. Yet, what was incredible about Avatar was how the film’s momentum continued togrowacross its run. Most blockbusters lose 50% of their box office gross in the second weekend and continue dwindling each and every week until they leave theaters. Avatarlost just 1.8% in its second weekend, its third weekend brought in $68.5 million, a drop of just 11% from its opening weekend. It set the box office record for largest third, fourth, fifth, sixth, and seventh weekends. In multiple weekends, it actually grew from the prior week. It stayed at number one at the box office fora mind-boggling8 consecutive weeks. Add it all up, andAvatarended up breaking the domestic record for largest total box office with a lifetime gross of $761 million. In international markets it brought in more than $2 billion at the box office, bringing its worldwide total to nearly $2.8 billion, another box office record. Only one other recent movie had a comparable run –Titanicstayed at number one at the box office for an astounding 17 consecutive weeks. It’s second all-time at the box office with a worldwide lifetime gross just south of $2.2 billion.

Action movies are essentially redefined in 1962 with the release of the first James Bond movie. Science-fiction films, on the other hand, show no similar creative uptick during the same period. According to the analysis, novelty in sci-fi has declined essentially since the genre first made it into movies. Its possible that this has to do with early science-fiction films codifying the major tropes seen in these movies. Another part of the analysis seem to correspond to theories put forth by social scientists about how much we enjoy novelty in creative works, said Sreenivasan. In general, humans enjoy new things. More specifically, theres a tendency for people to look at and like things that are new but not too new. If its way out there, its hard to palate, said Sreenivasan. And if its too familiar, then it seems boring. A model known as the Wundt-Berlyne curve illustrates this result. The amount of pleasure someone derives from a creative piece goes up as its novelty increases. But at a certain point, there is a maximum of enjoyment.